The Five Basic Ballet Positions The Five Basic Ballet Positions Get our INSTANT Download One of the first things you need to master is the Five Basic Ballet Positions. The basic Ballet positions for arms and feet are simply known as First, Second, Third, Forth and Fifth. All basic moves start from and end in one of these five positions or a slight variation thereof. You should at least be taken through some or all of the five positions of the feet during your first lesson. To put the arms in at the beginner stage can sometimes be a little confusing and some teachers will teach a few lessons without the arm positions. You will just be asked to keep your arms in first or second position to help balance you. This gives you the opportunity to concentrate on getting the positions of the feet correct. However other teachers will just go right ahead and have you doing both the feet and arm positions from day one. Neither approach is right or wrong, simply a variance in teaching style. Also, just so you know (and this is a bit confusing) there are actually TWO Forth positions.

However, in the spirit of keeping things simple, and being mindful that our instruction here is for absolute beginners, we've just included the most common of the two positions here, rather than both of them. In your first lessons, it's the more common one that you'll learn first. "I've just done your class and WOW! It feels just wonderful." The fastest way for you to learn the basic Ballet steps Get your Ballet for adult beginners class right now. As your dancing progresses, you'll learn the other position and also variations of feet and arm positions that are a little more demanding (and you also might come across the elusive Sixth position - yes, it exists). But the five basic Ballet positions as we demonstrate here are all you have to think about for now... Basic Ballet positions for the complete beginner A full photo guide to all five Ballet positions is below. Suzanne says "These are very deliberately not 'text-book' versions of Ballet positions. If the photos showed a professional ballerina who had perfect turnout and tiny, skinny legs doing each of the positions with immaculate accuracy, you might find it a bit off-putting. There's no way you should expect to be doing these positions perfectly in your first lessons.

So just copy the more accessible versions here to start with" As your dancing progresses, the flexibility and suppleness that you will gain will help you turn out more, and do more 'perfect' versions of what's here. Right now, it is far more important you find Ballet positions you are comfortable in and that give you good balance. Our guide to the five basic Ballet positions 1st Position Feet This is the main Ballet position that most of the steps you practise as a beginner will start from. So it's important to get it right. Your feet should be turned out only as far as is comfortable. It is vital that you feel completely balanced in this position and that all of the sole of your foot and toes are in contact with the floor. Check that your feet aren't rolling forwards or turned out so far that you feel you are going to fall over. And certainly don't try to get them in a completely straight line á la Charlie Chaplin! Also, notice how your heels probably won't touch – don't worry about this at all. Just as close as is comfortable is fine. 2nd Position Feet From first position (above), slide one foot away from the other.

The space in between your feet should be about one and a half lengths of your foot. Keep your feet comfortably turned out. 3rd Position Feet Now slide your foot back to touch the other, but instead of touching heels together as in first position, this time bring one foot further across the other. The heel of your front foot should be touching the area of the arch of your back foot. It's from third position that you'll probably start most of your barre exercises from as a beginner, so take a little time to find and get used to this position. 4th Position Feet From the third position (above) slide your front foot directly out in front of you. Stop when the distance between your feet is equal to about one foot's length. 5th Position Feet Slide your front foot directly back towards you. Bring your front foot slightly further across your back foot than in third position. So when your feet are touching, your front toe should be roughly in front of your back heel. The 'ideal' of this position is to get your front foot so far across your back foot, that you can't see the one at the back. You are so turned out that you are standing front toe to back heel, and back toe to front heel.

But to execute this perfectly takes years of training. What is demonstrated here is perfectly acceptable for a beginner. And far more comfortable! Five basic Ballet positions - arms and feet 1st Position This is the main Ballet position of the arms for beginners. Keep your arms nice and relaxed, and roughly the width of your face apart. Your hands shouldn't be touching your thighs. Keep them just an inch or so in front of you. Get from 1st to 2nd For a smooth transition from first position arms to second, simply raise your arms until they are almost shoulder height in front of you. Keep them roughly the width of your face apart. Then, to get to second, all you have to do is open them. 2nd Position Your arms out to the side should form a smooth line. Don't do the 'Dead Bird' thing here. Your elbows should be facing the back of the room. Extend your hand comfortably and keep it relaxed – no pointing! 3rd Position This is bringing one arm only in front of you, leaving the other in second position. 4th Position This is one arm raised and one arm in second. The arm that is raised should be opposite to the foot you have in front.

So if your right foot is in front, you raise your left arm. 5th Position Finally, raise both arms. As with all these positions, make sure that it is your arms that are raised, and NOT your shoulders. Arms should be look smooth with your elbows and hands softly rounded (and definitely no pointing). You are executing Ballet positions, not directing traffic! Well done if you've mastered the barre and have had a go at the basic positions. But you do need to think a little about your posture for Ballet, so our next photo guide for you is on the subject of how to stand . Or put your new knowledge to the test by taking our full length ballet class online. Just click play to watch a taster... To access your online class, once you click the Purchase button you'll be asked to create a very basic account with our partners Vimeo. It's super quick. Just enter your e-mail address and create a password. That's it. Then Vimeo will take you straight to the payment processing - PayPal, credit and debit card payment options are all available and secure. You'll be in your virtual dance class in mere moments. Continue reading our Ballet for adult beginners guide...

The Five Basic Positions of Ballet - BalletHub The Five Basic Positions of Ballet Ballet Lesson BalletHub / Ballet Lessons / The Five Basic Positions of Ballet In classical ballet, there are five basic positions of both the feet and arms. First, we’ll take a look at the five basic ballet positions of the feet. The five basic positions are usually one of the first things taught in a beginner’s ballet class but are essential to the technique of classical ballet as practically every step begins and ends in one of the five basic positions. What are the Five Basic Positions of Ballet? The positions of the feet include first position, second position, third position, fourth position and fifth position. There are also other basic ballet positions of the arms that can be combined with other beginner and advanced steps. When a teacher asks “Start in First Position…” they are generally referring to the feet. First Position Possibly the easiest of the basic ballet positions is first position in ballet is a position of the feet where a dancer is standing with their heels together and toes facing equally out to either side. For a beginner, its best just to think of the heels as needing to touch, but for more advanced dancers, no more than 2 inches should be between the heels.

Unless in a plié, the legs are straight. The feet and legs should also be equally turned out. Read more about first position of the feet. Second Position Continuing with our ballet positions, we come to second position which is very similar to first, just with the feet about hip distance apart. The same ideas as first position are true for second, where you want to have the feet and legs equally turned out. Its important not to have your second position too wide that its not useful, or too narrow that it looks closer to a first position. Third Position Third position is very rarely done, though it still has a spot as one of the five basic ballet positions. The reason it is not commonly used beyond a beginner level is that a third position can very easily look like a misplaced first or fifth position. To do third position, simply start in first position, then move the heel of one of your feet to the middle of the other. Your legs should remain straight with the feet and legs turned out equally. Fourth Position Fourth position is a very important position for different types of pirouettes. To stand in fourth position, place one foot in front of the other, about a foot’s distance apart.

By now, you can also guess that the legs and feet should be equally turned out away from the center of the body. Like second position, its important to remember not to have too wide of a fourth position that its not useful, or too narrow that it is confused with a “wide” fifth position. There are different thoughts on how crossed your feet should be, but you can never go wrong with lining the heel of the front foot with the toes of the back. Fifth Position The most difficult of all the basic ballet positions is fifth position. To do fifth position in ballet, stand with your feet close together, one in front of the other and turned out away from the body. The real difficulty of fifth position is maintaining straight legs and proper turnout, then being able to use this position to do jumps and turns. Tips for the Five Basic Ballet Positions While possibly learned in your first few ballet classes, the five basic ballet positions are used countless times in classes and on stage. They are considered basic, but very difficult to master, even for seasoned professionals. Here are a few tips for the five basic ballet positions: Try to keep equal turn out with your legs and feet.

Your turnout doesn’t need to be “perfect.” Its more important that you can stand safely and confidently in each position so you can use them for more difficult steps. Try to keep both of your feet evenly flat on the floor. You shouldn’t be rolling your feet or ankles to standing in a basic ballet position. Unless you’re in a plie, try to think of your legs squeezing together and down into the floor so you can pull up with your upper body. For advanced students, your legs should be straight in every position. If you can’t get them straight, try lessening your turnout a little. Always work with straight legs first, then into your turnout. The Five Basic Ballet Positions of the Arms Now that we have the feet covered, let’s continue on to the arms. The position of your arms are just as important as your feet, no matter whether you’re a beginner ballet student, an advanced student, or a seasoned professional! While there are several different positions of the arms possible in classical ballet, this post will cover just the basic positions of the arms. Before we begin, it is good to know that the positions of the feet aren’t necessarily always done with the same position of the arms.

For example, just because you are standing in a fifth position, doesn’t mean your arms will always also be a in fifth… the teacher or choreographer may have asked for them to be in first! Let’s take a look at the five basic ballet positions of the arms. First Position of the Arms First position with the arms looks like you are holding a beach ball in the middle of your stomach right in front of you. The fingers do not touch, but have the tips pointing towards each other about 4 inches apart. Your hand should be slightly tilted so the inside of your hand is facing towards your face. A good way to imagine and work on this slight tilt of the hands is to imagine holding a mirror; if your hand is tilted right, you’d be able to look down and see your face reflecting back at you! Your elbows should be lifted so they are held higher than your hands. A well placed first position should not have the arms parallel with the floor, but angled down slightly so the hands are in the middle of your torso. Second Position of the Arms Second position of the arms in ballet, much like second position with the feet, looks very much like first, but open.

To try second position, start in a nice looking first position of the arms, then open at the elbows, only moving them slightly back a couple inches. Keep the same shape of the entire arm, so that your elbows are higher than your hands with your hands ever so slightly tilted upwards. The key to a great second position is to remember to keep your hands below your elbows and not open them too wide. A proper second position is placed just slightly in front of your body, not directly side. For a nice looking second position of the arms in ballet, you’ll also want to try to keep them slightly rounded; not quite as rounded as first, but still rounded so you’re making a slightly curved shape. Third Position of the Arms Unlike third position of the feet, third position of the arms is actually used quite a lot in ballet. Unlike first and second, third position can be done with alternating arms. Start with your arms in first, and simply open one arm to second, leaving the other one in its place in first. That’s third position! You can think of it as a combination of first and second. All of the same rules apply still, so remember to try to keep your hands below your elbows with a slight tilt of the hands in third position.

Fourth Position of the Arms Next on our list of basic ballet positions is fourth. Fourth will start to be a little trickier than the first three positions. Starting in first position of the arms, move to a third position by opening one arm. Now, with the arm still in first, lift it above your head, completing the fourth position. Since you already know how to hold your arm in second, let’s focus on the one you just lifted above. Like all other ballet positions of the arms, you want to make sure the arms are curved so it looks like you have no elbows, not too straight and not too bent so your elbows look pointy. Also, the same tip of the hands applies when your arm is lifted up; you want to have the inside of your hand facing towards your face so that if you titled your head slightly upwards, you’d see your reflection if you were holding a mirror. Try to keep your arms slightly in front of you still, even though one is lifted over your head. If you place your thumb on your forehead, then lift it straight up, your arms will be in a good position… just slightly in front of your head. Fifth Position of the Arms Our final basic ballet position of the arms is fifth!

This is a very common position and is quite iconic of ballet. (think music box or a little girl twirling around with her arms up…) Starting in first position, simply lift both of your arms over your head and extend them very slightly. And that’s fifth position! You will notice that having both arms up over your head resembles what you just learned for fourth position and the same rules apply. Let’s go over them one more time and you’ll be on your way to a great looking fifth position. Make sure both arms are bent slightly, so the arms look seamless around the elbow. Your hands should extend to complete the curving shape made by your arm. With fifth position, just like first, you want to try to keep your fingers from touching; depending on the length of your arms, you’ll want them about 6 to 10 inches apart. Try to imagine your arms are an oval picture frame, with your face centered in the middle like a portrait. Tips for the Basic Positions of the Arms in Ballet Here are some good tips you can try to think about when doing the basic positions of the arms in ballet class or in a performance. Any time one, or both, of your arms are above your head, try not to lift your shoulders.

Hold your arms from your back, without overly tensing your arms. Always remember, if your shoulders are “at the top”, your elbows would be “in the middle” and your hands would be “at the bottom” when you’re making a shape. Though we’ll cover it in detail in another post, try not to be too tense or too relaxed in your hands. They should be just as nicely placed as your arms. Practice facing the mirror while standing in a relaxed position. This will allow you to focus completely on your upper body without having to worry about your legs and their position. Mastering the basic positions of the arms in ballet takes many years. Even if you feel you’ve got a good grasp, there is always room for improvement, and that is the beauty of ballet technique. It is quite impossible to perfect, but over time with proper practice, you can really become quite polished. The great thing about working on arms in ballet is that it isn’t as dependent on age or athleticism. You can still work on moving your arms with grace and confidence, one of the most notable parts of ballet, no matter your age.

Ballet Positions - How to Do the 5 Ballet Positions The five positions in classical ballet will be the base of your dance career. See how to do the five positions correctly. Show transcript Hide transcript Transcript: Learn the Five Classical Ballet Positions Hello everyone. My name is Luis Domingues. I am the artistic director for Lexington Ballet here in Lexington Kentucky, for About.com. Today we are going to show you the five basic positions in classical ballet. Ballet Position One Helping us demonstrate the positions of the classical vocabulary is Rose Rita. Rose will you please take the first position. A rotation of the hip-sockets outside, note that her arms are in front of her sternum, the knees are out and straight, hip rotation is outside from the hip-sockets. Ballet Position Two Then from first position, Rose takes second position. Note that the arms are straight to the side and the elbows are held up. The elbow is the highest point, if there was a drop of water it would fall from the elbow down to the hand. Her heels gently reach to the floor - all the toes are touching the ground. Ballet Position Three From second position Rose is going to take third position, one foot in front of the other with the other foot slightly showing.

Note that the knees are absolutely straight - all the toes are touching the ground. Ballet Position Four From there she goes to fourth position. Note that the toes are facing outside, the rotation is very important. Ballet Position Five Finally she is going to take fifth position. Both legs are turned out, and there are no toes showing in the back. The shoulders are down, the arms crowning her head and framing her face. And these are the five basic positions in the classical vocabulary. Thanks for watching. To learn more, visit us at About.com About videos are made available on an "as is" basis, subject to the Terms of Use . Five Ballet Positions for Barre Workouts Five Ballet Positions for Barre Workouts November 28, 2012 by Sophia Barre workouts use the five positions of ballet fairly often, and you should probably commit them to memory. Thankfully, their names are not French, and they go in order: First, Second, Third, Fourth, and Fifth position. These five core positions of ballet are the foundation from which most other barre movements begin and end.

If you are unfamiliar with ballet or barre exercises, it’s a good idea to learn how to properly do these five core barre positions, as they will be used frequently throughout most barre exercise routines. Here is a short video explaining the five basic positions of ballet that are frequently used in barre, plus, detailed written explanations for each ballet barre position below. Five Ballet Barre Positions for Barre Workouts First position: Stand with your heels together and your feet turned out, so that you are making a “pizza slice” shape between your feet. Lengthen your spine so that your back is straight from the top of your head to the bottom of your tailbone, keep your knees straight, and let your hands rest on the barre for stability. Second position: Slide your heels apart to either side from first position until your feet are shoulder-width apart. Your feet and legs should still be turned out. Move your hands apart from each other as well, opening your arms to complete the open stance of second position. Third position: Slide one heel into the curve of the inside of your other foot, keeping both feet turned out. The heel should be exactly midway between the heel and toe of your other foot.

Third, fourth, and fifth position have right and left sides, depending on the food you use. Third position is the least-frequently used, but you may as well know it anyway. Fourth position: From third position, slide your midway-front foot forwards until it is about one foot-length away from the toes of your back foot. The heel of your front foot should be directly in-line with the toes of your back foot, and both legs should remain turned out at all times. Fifth position: Eliminate the distance between your two feet in fourth position by sliding your front foot back towards yourself, until your heel lightly connects with the toes of your back foot. Your feet should remain turned out in this position. It is essential that with each of these positions, you are employing proper technique throughout your entire body, not just your hands and feet. Engaging the entire body, even when one is simply standing still, is how dancers train and strengthen their muscles. Read up on Basic Ballet Barre Exercise Techniques to get the full benefit of every barre workout. New to barre? Read a quick introduction to barre workouts here . Ready to Raise the Barre?

Subscribe to Barre Sculpt by LA Lakers Girl, Jaqueline Umof : A month-long video-based barre program for at-home workout sessions. Continue your fitness journey with the Cody Newsletter. Expert fitness advice delivered straight to your inbox Email Learning Center: Foot Positions Learning Center Feedback & Support Positions of the Feet There are many ways to describe foot positioning. Some methods involve describing the angle or position of a single foot, while others describe the positions or angles of the feet relative to each other. The following article will give you a basic understanding of the most common methods for describing the various positions of the feet. The most fundamental method is to refer to one of five basic foot positions: FIRST POSITION Feet apart, side by side. THIRD POSITION Feet together, heel to instep. FOURTH POSITION Feet apart, one foot in front of the other. FIFTH POSITION Feet together, one foot in front of the other, toe to heel. These five foot positions were originally established for the teaching of ballet, and as a result, are not always ideally suited for ballroom dancing. You are more likely to hear a ballroom dance teacher say "Step forward" than "Take fourth position", simply because ballroom dancers prefer to speak in terms of directions of movement.

Nonetheless, instructors will refer to these positions on occasion (especially 5th position), so you should get to know them. Turnout Turning Out is the process of rotating the feet outward to an angle, so that the toes point away from each other. The angle that results between the feet is known as the degree of turnout. When the feet are held without any turnout, they are referred to as parallel. Fig 1 - Feet parallel. Fig 2 - Feet turned out. For Smooth and Standard style ballroom dancing, the feet are normally held parallel. Some turnout is used in very specific situations, as outlined in the technical breakdown of a figure. When turnout is not specified, it is assumed that feet are parallel. Turnout in the Latin and Rhythm dances is recommended for the majority of situations. The desirable amount of turnout is somewhere between 45 and 90 degrees. Ballet dancers strive to achieve turnout entirely through the rotation of the legs so that the knees always point to the same angle as the toes. Latin dancers, on the other hand, will allow the feet to turn out at the ankles; Thus the knees, when bent, point straight forward (or even roll slightly inward) in spite of the turned-out angle of the feet.

Supanation and Pronation The rolling of the foot toward the inside or outside edge is known as pronation and supination, respectively. It is very important to become aware of these positions, even if you don't remember their names. Normal position Insight: Ballet glossary – feet positions - YouTube Insight: Ballet glossary – feet positions Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Feb 25, 2011 Romany Pajdak, Royal Ballet First Artist, demonstrates positions of the feet. Feet positions: In all schools of ballet, there are five basic foot positions: first, second, third, fourth, fifth. All ballet movements begin or end in one of these five positions. Ballet dancers must have good natural turnout of the leg from their hip to enable them to stand in first position with the feet turned out to the sides. First position: Heels together, toes pointed outwards to the sides.

Second position: The feet remain pointing outwards, but are moved apart in parallel with each other, by approximately the length of the dancer's foot and a half. Third position: The feet remain pointing outwards, but one is placed in front of the other, the front foot's heel touches the back foot's instep. Fourth position opposite third / fourth open: The feet remain pointing outwards, and in the same position as third but the front foot is placed slightly forward (about the length of one of the dancer's feet). Fourth position opposite fifth / fourth crossed: As above but the feet are crossed further with the front foot placed opposite the toes of the back foot. Fifth position: The feet point outwards with the legs crossed and the feet touching. The heel of one foot is placed beside the toes of the other. Ballet Terms Online - Dictionary of basic Ballet moves Adage, Adagio [French: a-DAHZH] Adage means “slow, sustained” movement and has two meanings in Ballet: 1st meaning: A series of movements following the centre practice, consisting of slow and graceful movements which may be simple or complex, performed with as much fluidity and ease as possible.

This helps the dancer build strength and control as the movements are slow. The steps may include attitude, arabesque, développé, grande rond de jambe, and plié, and others. 2nd meaning: The opening section of the classical pas de deux, in which the ballerina is partnered by a male partner. Together they perform slow movements in which the male partner lifts, supports or carries the lady. The lady dancer will usually perform développés, pirouettes, arabesques and more. Air, en l’ [ahn lehr] In the air In the air means that a movement will be made in the air. For example, rond de jambe en l’air. And that the working leg will be raised to a horizontal position with the toe on the level of the hip. Allégro [a-lay-GROH; Italian: al-LAY-groh] In Ballet terms, Allegro means fast, lively movements and jumps. All steps of elevation such as the sautés, jetés, entrechat, cabriole, assemblé and others are under this classification. The dancers must show smooth and light movements to make it look right.

Arabesque [a-ra-BESK] Arabesque is one of the most popular basic Ballet moves. It is a position supported on one leg, which can be straight or in demi-plié, with the other leg extended behind and at right angles to it, and the arms held in various positions creating the longest possible lines from the fingertips outward. It can be found in almost every classical and modern Ballet today. Watch video: Arabesque Video Arrière, en [ah na-RYEHR] Means to go backward. Used to indicate that a step is executed moving away from the audience. Assemblé [a-sahn-BLAY] Simply put it means when two legs are joined together in the air. It is when the dancer shoots one leg up into the air and then jumps the second leg to join the two legs together in the air. Usually the dancer will land in fifth position of plie after the jump. Attitude [a-tee-TEWD] It is a standing position on one leg with the other leg lifted in the front or the back with the knee bent at an angle of 90 degrees and well turned out so that the knee is higher than the foot.

The supporting foot may be à terre, sur la pointe or sur la demi-pointe. The arm on the side of the raised leg is held over the head in a curved position while the other arm is extended to the side. Avant, en [ah na-VAHN] Avant means to the front or Forward. A direction for the execution of a step. Used to indicate that a given step is executed moving forward, toward the audience. Balancé [ba-lahn-SAY] It is a step that rocks or swings from foot to foot. The dancer will alternate their weight from foot to foot in this movement. Ballerina [bahl-lay-REE-rlah (Italian)] It used to mean the principal female dancer in a ballet company. In the days of the Russian Imperial Theatres the title was given to the outstanding soloists who danced the chief classical roles. Nowdays this term simply means a female ballet dancer. The leading female dancer will usually be referred to as “principal dancer” these days. Ballet foot positions The 5 main foot positions in Ballet including 1st, 2nd, 3rd, 4th, 5th positions.

Each position is different and is required for specific movements. Watch video: 5 Ballet Foot Positions (2 Videos) Ballet master, ballet mistress The person in a ballet company whose duty is to give the daily company class and to rehearse the ballets in the company repertoire. They are part of “staff” and work together with dancers and with directors. Balletomane A ballet fan. The word was invented in Russia in the early nineteenth century. Someone who adores Ballet. Ballon [ba-LAWN] Ballon means “to bounce”. The dancer must demonstrate a jump with ease and lightness. After the jump, the dancer would pause mid air for a moment and then softly descend with ease. Barre [bar] The horizontal wooden bar attached to the walls of the ballet classroom which the dancer holds for support. Every ballet class begins with exercises at the bar. Battement [bat-MAHN] Means “beating”. There are two types of battements, grands battements and petits battements. It is when a dancer extends his/her leg to the front, back or side. Battement dégagé [bat-MAHN day-ga-ZHAY] Means disengaged battement.

A term from the Cecchetti method. The battement dégagé is like the battement tendu but is done at twice the speed and the working foot rises about four inches from the floor with a well-pointed toe. Battement fondu développé [bat-MAHN fawn-DEW] It means “battement sinking down”. During a battement fondu, a dancer’s standing leg is slowly bent in fondu with the working foot pointing on the ankle. As the dancer’s standing leg straightens, the working leg also extends to a straight position in the air or with the toes on the floor. Battement développé [bat-MAHN dayv-law-PAY] “Battement developed”. It is when the dancer developes their leg to the front, back or side from fifth position. Battement frappé [bat-MAHN fra-PAY] A movement in which the dancer quickly extends the working leg from a cou-de-pied position to the front, side or back. This exercise strengthens the toes and thighs and develops the power of elevation. Battement petit [puh-TEE bat-MAHN] Small battement on the ankle.

An exercise where one leg is extended and moved forward and backward from the ankle of the standing/supporting leg. Battement tendu [bat-MAHN tahn-DEW] Means “Battement stretched”. It is where one leg is extended until the point of the stretched foot barely touches the ground. Both knees must be kept straight. When the foot reaches the position pointe tendue, it then returns to the first or fifth position. They can be done in demi-plié in the first or fifth position. Watch video: How to do a Tendu in Ballet Battement, grand [grahn bat-MAHN] Means “Large battement”. A movement in which the leg is lifted to hip level or higher and held straight. This must be done with ease to give the feeling of effortlessness. The function of grands battements is to loosen the hip joints and turn out the legs from the hips. Watch video: Grand Battement Video Battu [ba-TEW] means “Beaten”. When a step requires the striking of the legs together. As, for example, in jeté battu. Bras [brah] Means “Arms”.

Bras bas [brah bah] Means “low” or “down”. Indicates to the dancer to lower their arms down. This is the dancer’s resting position or beginning position. Brisé [bree-ZAY] Means “Broken, breaking”. It is a jump and the working leg brushes to the second position and meets the other leg in front of or behind in the air. Finally both feet land in fifth position. This is similar to an assemblé but with traveling. Brisé volé [bree-ZAY vaw-LAY] Means “Flying brisé”. In this brisé the dancer finishes on one foot after the beat, the other leg crossed either front or back. Cavalier The male partner of the female ballerina. Choreographer, choregrapher This is the dance term applied to the person who composes or invents ballets or dances. Corps de ballet [kawr duh ba-LAY] This Ballet term refers to those ballet dancers who dance as a group (not as soloists). Cabriole [ka-bree-AWL] A jump. The working leg swings into the air as the supporting leg pushes off the ground and beats against the first leg.

Finally the dancer lands on the standing leg. Cabrioles are divided into two categories: petite, which are executed at 45 degrees, and grande, which are executed at 90 degrees. Cecchetti method Enrico Cecchett was one of the world’s outstanding teachers of ballet. He founded a program of strict routine that included daily exercises for each day of the week to work on the technique of classical Ballet. The Cecchetti Society was formed in London in 1922 to perpetuate his method of teaching. Center practice The “Center” is a classical ballet term which typically refers to the portion of class where the exercises are done away from the barre and in the center of the room. The exercises performed are similar to the ones done at the barre but also include more advanced steps because there is more space. Chaînés [sheh-NAY] Means “Chains, links”. This is the most simple term for “turns”. The dancer performs a series of traveling turns by quick steps that involve alternating feet. Changement [shahnzh-MAHN] Means “Change of feet”.

After a jump, the dancer will change feet in the air and alighting in the fifth position with the opposite foot in the front. They are done petit and grand. Chassé [sha-SAY] Means “to chase”. It is where one foot extends out in front and then the back foot chases the front foot and very quickly the front foot shoots out again forward. They are usually done in series. Cinq [senk] Means “five”. Not a Ballet step. It is used to indicate the number of repetitions a dancer must perform. Coda It means the final section of a ballet. And has two meanings: (1) The finale of a classical ballet in which all the principal dancers perform with their partners. (2) The final dance of the classic pas de deux, pas de trois or pas de quatre. Corps [kawr] Simple means “Body” in french. Côté, de [duh koh-TAY] Means “Sideways”. Used to indicate that a step is to be made to the side, either to the right or to the left. Cou-de-pied, sur le [sewr luh koo-duh-PYAY] On the “Neck” of the foot.

The working foot is placed on the part of the leg between the base of the calf and the beginning of the ankle. Coupé jeté en tournant [koo-PAY zhuh-TAY ahn toor-NAHN] It is basically a split jeté with a turn in between. Couru [koo-REW] Means “Running”. Done or executed with a running step. Croisé, croisée [kmJah-ZAY] Means “Crossed”. It indicates one of the directions of the shoulders. A Croise position is where it looks crossed from the audience perspective. Danse [dahnss] Danse de caractère [dahnss duh ka-rak-TEHR] Dance of character. Any national, cultural or folk dance. Dedans, en [ahn duh-DAHN] Means “Inward”. The term “inward” is always attached to another Ballet term to describe the direction it should move. Dehors, en [ahn duh-AWR] Means “Outward”. It is a word attached to another term to describe which way the step should go.

Demi-plié [duh-MEE-plee-AY] Means “Half-bend of the knees”. It is half of a Plie (See plie). It is a graceful bending of the knees while externally turning out the feet and hips. Both feet stay on the floor the entire time during demi-plie. Demi-pointes, sur les [sewr lay duh-mee-PWENT] Indicates that the dancer is to stand high on the balls of the feet and under part of the toes. Derrière [deh-RYEHR] Means “Behind, back”. This term may refer to a movement, position or direction for another step or term. Dessous [duh-SOO] Means “Under”. Indicates that the arm or leg should pass behind the other. Dessus [duh-SEW] Means “Over”. Indicates that the working foot passes in front of the supporting foot. As, for example, in pas de bourrée dessus. Deux [duh] Means “Second”. Devant [duh-VAHN] Means “In front”. This term is used to describe a step, movement or direction of another term.

Développé [tahn dayv-law-PAY] Means “developing movement”. A développé is a movement in which the working leg is drawn up to the knee of the standing leg and slowly extended (develops) to an open position in the air with control. It requires great balance and strong center! Diagonale, en [ahn dya-gaw-NAL] Means “In a diagonal” direction. Indicates that a step/movement is to be done traveling in a diagonal direction. Divertissement [dee-vehr-tees-MAHNLAY] Means “Diversion, enjoyment”. Pieces of Ballet choreography called “entrées,” inserted into a classic ballet. These short dances are calculated to display the talents of individuals or groups of dancers. They are meant to add more dances to a full production ballet. Double [DOO-bluh] Means “Double”. As, for example, describing the number of pirouettes (a double pirouette). Écarté [ay-har-TAY] Means “Separated, thrown wide apart”. Écarté is one of the eight directions of the body, Cecchetti method.

Facing any corner, the leg nearer to the audience becomes the working leg and is extended in second position, pointing on tendú to the side. The arms are in fourth position. The head is raised slighlty and turned toward the raised arm, so the eyes look into the hand. Échappé [ay-sha-PAY] Means “Escaping or slipping movement”. A dancer does an échappé with their legs and feet. Starting in closed position and progressing to open position. For example, starting in a closed position, usually fifth position with the feet, the dancer slides both feet out equally into either second or fourth position. Effacé, effacée [eh-fa-SAY] Means “Shaded”. One of the directions of shoulders in which the dancer stands at an angle to the audience so that a part of the body is taken back and almost hidden from view. In the feet it is a position in which the legs are open and “uncrossed” (opposite of croise). Élévation [ay-lay-va-SYAWN] Élévation refers to the height or depth of a dancer’s jump or leg extension in relation to the standing leg .

It is a term used to describe the height attained in springing steps such as entrechats, grands jetés and others. Entrechat [ahn-truh-SHAH] Means “Interweaving or braiding”. A step of beating in which the dancer jumps into the air and rapidly crosses the legs before and behind each other. Épaulement [ay-pohl-MAHN]] Means “position of shoulders” or the placing of the shoulders in relation to the lower body. The dancer will twist their torso from the waist upward so that one shoulder has now moved forward and the other back. The head is then slightly inclined over the front shoulder. The two fundamental positions of épaulement are croisé and effacé. Extension [eks-tahn-SYAWN] This Ballet term used to describe the ability of a dancer to raise and hold her extended leg in the air. It takes a lot of balance, alignment, flexibility and strength to have proper and high extension. The dancer must not raise their hip in order to get the leg higher. Face, en [ahn fahss] Means “Facing the audience”. Fish dive Fish or fish dives are seen quite often in classical partnering and pas de deuxes.

It is considered an intermediate partnering step where the man holds the ballerina’s waist and under the thigh of the arabesque leg, then lifts and bends his back leg into the fish position. Fondu, fondue [fawn-DEW] Means “Melting or Sinking down”. It describes the gradual bending the knee of the supporting leg. It is the same as a plie, but Fondu means you do the plie on only one leg. Watch video: Fondu Demonstration videos Fouetté [fweh-TAY] Means “Whipped”. It usually describes the quick whipping action of a dancer’s leg or body. The movement may be a short whipped movement of the raised foot as it passes rapidly in front of or behind the supporting foot or the sharp whipping around of the body from one direction to another. There is a great variety of fouettés. Fouetté rond de jambe en tournant [fweh-TAY rawn duh zhahnb ahn toor-NAHN] Also called “Fouetté turns” It is a whipped circle of turning on one leg. This fouetté may be done on demi-pointe, on point or with a jump.

It is when the dancer does a pirouette, then a plie of the standing leg, followed by an extension of the free leg into rond de jambes in the air. These Fouettés are usually done in a series. They may be executed inward or outward. French School The French School of ballet began in the court ceremonies of the French monarchs. Louis XIV studied with the famous ballet master Pierre Beauchamp and established the first academy of dancing, known as the Académie Royale de Musique et de Danse, in Paris in 1661. The French School was known for its elegant, graceful movements rather than technical execution. Its influence spread throughout Europe and is the basis of all ballet training. Gateway This is a position of the arms in which the arms are held rounded in front of the body with the fingertips on a level with the bottom of the breastbone. Glissade [glee-SAD] Means “Glide”. It is an in-between step. A traveling step executed by gliding the working foot from the fifth position to the side, then the other foot closes to it in fifth position. You would start by jumping up first and then moving to the side after.

Grand, grande [grahn, grahnd] Means “Big, large”. As, for example, grand plie or grand battement. Jambe [zhahnb] Means “Leg”. Jeté [zhuh-TAY] Indicates Throwing of a step. it is a forceful “throwing” of the leg. Starts like tendu and then the leg is thrown up slightly into the air. Jeté battu [zhuh-TAY ba-TEW] Jeté beaten. It describes a petit jeté that is beaten with straight legs before landing in cou-de-pied position. Jeté entrelacé [zhuh-TAY ahn-truh-la-SAY] Means “Jeté interlaced”. This jeté is done in all directions. It describes a step where the dancer extends one leg into their air wile jumping, then meeting the other leg in the air, and then turning and landing in arabesque position at the end. Jeté, grand [grahn zhuh-TAV] Means “Large jeté”. It indicates a big leap. When you jump you shoot out the front leg to the front and and the back leg back.

You legs have to be full extended and the toes have to point. The arms can be up in fifth position or in fourth position. Jeté, petit [puh-TEE zhuh-TAY] Means “Small jeté”. From a demi-plié in the fifth position, then brush the working foot out into the air, jump getting both legs straight, and come down on the working leg in front. Leotard [lee-o-tard] It is the most basic outfit that girls and women wear to practice and learn Ballet. It covers the entire torso and has straps around the shoulders. There are almost countless varieties, designs, fabric choices, colors and designs for leotards today. Leçon [luh-SAWN] Means “Lesson”. It is the daily dance classes that Ballet dancers take in order to improve their skill and level. Ligne [LEEN-yuh] Means “Line”. It is the outline of the dancers’ body pose or position. Dancers constantly try to achieve the “good line” in their dancing. It is the overall look from toes to arms and the head. Manèges [ma-NEZH] Means “Circular”. A term applied to Ballet moves that are to be done in a circular movement.

Mazurka or mazurek A famous Polish folk dance in 3/4 time which has been introduced into a number of ballets as a character dance. Neuf [nuhf] Means “Nine”. Ouvert, ouverte [oo-VEHR, oo-VEHRT] Means “Open, opened”. This may refer to positions, limbs, directions, or certain exercises or steps. It is another way to describe a step is done effacé and is the opposite of a step done croisé. Pas [pah] Means “Step”. Refers to a step that requires a transfer of weight. “Pas” also refers to a dance executed by a soloist (pas seul), a duet (pas de deux). Pas de bourrée [pah duh boo-RAY] Bourrée step. It is a step that cossists of back, side, and front steps. Starts with plie in coupe position, then releve’ to second position with your legs out. And then, you’re going to cross forward and go back to that coupe position of the feet. Pas de bourrée couru [pah duh boo-RAY koo-REW] Means “running”.

Starts with demi-pointes by a series of small, even steps with the feet close together. It may be done in all directions or in a circle. Pas de chat [pah duh shah] Means “Cat’s-step”. It is a step resembling how a cat jumps. First one foot jumps up and then the other one immediately follows into a jump as well. For a moment both legs in the air are in passés before coming down. Pas de deux, grand [grahn pah duh duh] Means “Grand dance for two”. It describes that a dance has two dancers – meaning a partner dance. Famous Pas de deux dances include Don Quixote, The Nutcracker, and Romeo and Juliet. Pas de quatre [pah duh KA-truh] Means “A dance for four”. It is when 4 dancers perform a dance together (similar to ‘Pas de deux’ above) . One of the most famous pas de quatre in ballet was the dance of the four little swans in Swan Lake. Pas de trois [pah duh trwah] Means “A dance for three”. Similar to the above terms, but this has 3 dancers.

Pas de valse [pah duh valss] Means “Waltz step”. It represents the 1,2,3 timing of a Waltz with quick weight changes. Done with a graceful swaying of the body with various arm movements. Pas marché [pah mar-SHAY] Means “Marching step”. This is the classical walk of the ballerina. Penché, penchée [pahn-SHAY] Means “Leaning, inclining”. As, for example, in arabesque penchée. Petit, petite [puh-TEE, puh-TEET] Means “Little, small”. For example, petit battement, Petit jeté, petit allegro, etc… Pieds, cinq positions des [sen paw-zee-SYAWN day pyay] Refers to the five positions of the feet. There are five basic positions of the feet in classical ballet, and every step or movement is begun and ended in one or another of these positions. Piqué [pee-KAY] Means “Pricked or pricking”. It is a term used to describe other ballet terms. For example, in piqué en arabesque, piqué développé and so on.

Pirouette [peer-WET] Means “spin”. A complete turn made one foot while the other foot is normally in Passe position. the spins could go in any direction. There is a strong emphasize on keeping the “center” aligned properly in order to do the pirouette. Pirouette à la seconde, grande [grahrul peer-WET a lah suh-GAWND] Refers to a large pirouette in second position. This pirouette is usually performed by male dancers. It is a series of turns on one foot with the free leg raised to the second position in the air at 90 degrees. Plié [plee-AY] Means “Bent, bending”. One of the most famous moves in Ballet. It refers to the bending of the knee or knees with strong turn out from feet, knees and hips. They are typically done in 1st, 2nd, 4th and 5th positions in classical ballet, both at the barre and center in classes. Watch video: How to do Plies (Demi & Grand) Pointes, sur les [sewr lay pwent] Means “On the points”.

It is when a dancer dances on her toes. A dancer starts to dance on point only when they have achieved a certain level of proficiency. Pointe shoes Pointe shoes are the satin ballet shoes used by dancers when dancing on point (see above term). Poisson [pwa-SAWN] Means “Fish”. This pose is taken while jumping into the air with the body arched to one side and the feet crossed in fifth position. Polonaise Dance that is performed in 3/4 time with which the court ballets of the seventeenth century were opened. It may be seen today in such ballets as The Sleeping Beauty and Swan Lake. Port de bras [pawr duh brah] Means “movement of the arms”. A movement or series of movements made by passing the arm or arms through various positions. Usually there are many exercises to help dancers master graceful arm movements. For example, if a ballerina moves her arms from first position to fifth position, that is considered a port de bras. Porté, portée [pawr-TAY] Means “Carried”. Refers either to a step which is traveled in the air from one spot to another.

Premier, première [pruh-MYAY, pruh-MYEHR] Means “First”. Promenade, tour de [toor duh prawm-NAD] Means “Turn in a walk”. A promenade is when a dancer turns around on one leg with the standing leg’s heel on the floor, while the other leg is in a position such as an arabesque or attitude derriere. Quatre [KA-truh] Means “Fourth”. Relevé [ruhl-VAY] Means “rising”. It is the rising on the toes or the balls of feet (on point or demi pointe). Relevé may be done in the first, second, fourth or fifth position and many other positions. Releves can be done very quickly with sharp springs or with slow graceful style. Retiré [ruh-tee-RAY] Means “Withdrawn”. A position in which the dancer stands on one foot and lifts the other foot up in the air and bring it to touch the standing leg with the toes. This foot is turned out and usually around the hip level. Rise This is a smooth relevé from a position à terre through all the levels of the foot (quarter-point, half-point and three-quarter point).

The toes do not move from the spot at which the rise began. Rolling Dancers “roll” in or out using their ankles instead of getting the turn out from the hips. This is usually what dancers need to avoid. Ront de jambe [rawn duh zhahnb] It is the circle of the leg. Ronds de jambe are used as an exercise at the bar and in the center. It is when the weight is on one leg and the working leg makes a circle inward or outward. Rond de jambe à terre [rawn duh zhahnb a tehr] Rond de jambe on the ground. It is where one leg makes circular movements while connected to the ground. Both legs must be kept perfectly straight and all movement must come from the hip, along with the arching and relaxing of the instep. The toe of the working leg is connected to the floor at all times. Rond de jambe en l’air [rawn duh zhahnb ahn lehr] Rond de jambe in the air. Ronds de jambe in the air is when the working leg does the circular movement but in the air.

Sauté, sautée [soh-TAY] Means “Jumped, jumping”. It is used with other Ballet terms to signify that the step must be done with a jump. For example, Sauté arabesque means “jump in arabesque position”. Seconde, à la [ah la suh-GAWND] Means “To the second”. A term that means that the certain move is done in or from the second position of the feet. Sept [set] Means “Seven”. Sickling This is when a dancer tries to turn out or point his/her foot from the ankle at a bad angle that breaks the line. Should be avoided! Sissonne fermée [see-SAWN fehr-MAY] It is a jump done sideways or forward/back. It is when the dancer jumps with both feet in the air and then lands in fifth position. Six [seess] It is the leg that the dancer has their weight on or “stands” on. Temps lié sur les pointes [tahn Iyay sewr lay pwent] Movement on the points. Means that the move is done on the ground.

Tour de force [toor duh fawrss] A brilliant performance that was achieved with great technical skill. Tour en l’air [toor ahn lehr] Means “Turn in the air”. lt is a turn where the dancer jumps straight into the air from a demi-plié, makes a complete turn and lands in the fifth position with the feet in reverse position. The turn may be single, double or triple according to the ability of the dancer. Tournant, en [ahn toor-NAHN] Means “Turning”. Indicates that the body should turn during a particular step or movement. Trois [trwah] Three. As, for example, in entrechat trois. Troisième [trwah-ZYEM] Means “Third”. Turn-out This is the ability of the dancer to turn out his/her feet from the hip. Essential for Ballet dancing. Tutu [tew-TEW] This is the short classical ballet skirt. Variation [va-rya-SYAWN] Means “Variation”. A solo dance in a classic ballet. Virtuoso A dancer with great technical ability and skill.

Working leg The “working leg” Ballet term refers to the free leg that is moving or in motion. It is the opposite of the “supporting leg” which has the weight on it. Other dance forms:

Question: How many basic foot positions are there in ballet
Answer: Five